Ahead of International Women’s Day, Medya News engaged with Hunergeha Welat from Qamishli (Qamişlo), Rojava, shedding light on their remarkable music initiative. The interview unveiled the group’s commitment to utilising music as a catalyst for women’s empowerment and societal transformation.
By intertwining resistance, freedom and cultural identity, Hunergeha Welat underscores the critical role of women in spearheading change. Their creative pursuit not only honours the resilience and strength of Rojava’s women but also encourage global advocacy for gender equality and justice. The group’s efforts demonstrate the significant influence of artistic expression in the ongoing struggle for a more equitable future.
Stranên Kezîya Sor – Jin, Jiyan, Azadî (Songs of the Red Plait – Woman, Life, Freedom) explores women’s roles in creation, resistance and societal transformation, celebrating their resilience and pivotal contributions to cultural identity and social reform.
In a 20-minute musical feast, accompanied by a visual narrative that highlights the connection between women and nature, transcending symbolism as it also captures the Kurdish women’s fight against ISIS, they offer us a story of resilience, the cyclical connection between women and nature, and the pivotal role of women in both creation and resistance.
Beginning with ‘Elixir of Life’ and ‘Birth’ the songs underscore the profound impact of women’s emergence and the inherent struggle against the forces of evil, portraying women as central to the balance of the universe. ‘Woman and Nature’ celebrates the symbiotic relationship between women and the environment, highlighting the nurturing and protective roles women play, akin to the natural world’s cycles of growth and renewal.
‘Creation-Agriculture’ reflects on the role of women in nurturing and sustaining life, underscoring their contribution to agriculture and sustenance long before the advent of modern technology. This part venerates the manual labour and natural wisdom of women, who, through their intimate connection with the earth, foster communities and civilizations.
‘The Man’ and ‘Violation’ critique societal structures that have historically exploited and oppressed women, symbolising a departure from natural harmony and the onset of violence and domination. These parts of the song confront the painful realities of gender-based exploitation, but also mark the beginning of a collective awakening to the injustices faced by women.
‘The Rebirth of Woman’ and ‘Victory’ herald a new era of awareness and rebellion against the shackles of oppression. These segments narrate the resurgence of female strength, unity and resistance, leading to a transformational shift in societal values. Women reclaim their voice and agency, moving from being mere subjects of history to shaping it, symbolised by their return to nature and the adoption of the freedom struggle.
Concluding with ‘Victory’, Hunergeha Welat captures the triumphant ascent of women from the depths of subjugation to the heights of liberation. This final act of defiance and empowerment encapsulates the core message of ‘Songs of the Red Apple – Woman, Life, Freedom’: the indomitable spirit of women as harbingers of change, embodying the ideals of freedom, life, and equality.
‘Songs of the Red Apple – Woman, Life, Freedom’ celebrates the historical and cultural significance of women’s roles in society but also serves as a clarion call for their ongoing struggle and liberation, echoing the timeless mantra: ‘Woman, Life, Freedom’.
Now, please enjoy our in-depth interview to gain insights into the behind-the-scenes of this novel, truly feminist art form.
Stranên Kezîya Sor – Jin, Jiyan, Azadî (Songs of the Red Plait – Women Life Freedom)
How did you start this study, how many people participated, and under what conditions were the shootings done? How did the attacks on Rojava affect the work?
Siya Dicle: Firstly, I would like to start by celebrating 8 March, International Women’s Day, especially honouring the resisting women guerrillas, and all segments fighting against colonialism. The struggle of women is not a struggle that will last for a period; there are many stages and difficulties that need to be changed and overcome. We must fight against dominance every day. If we stop our struggle even for a day, the male mindset immediately kicks in, trying to dominate and impose its superiority by all means. From this perspective, it is necessary to fight against this mindset.
Women are challenged in the current system, whether at home, in the workplace, in the political arena, or in social life, regardless of where they are. Especially in areas of conflict, they face even greater challenges and experience the deepest pain. From this perspective, if we can enable a world led by women, we create changes in many aspects. Because inherently, there is no violence, oppression, or destruction in women; there is love, creation, and life.
Women need to see their own power, recognise themselves and have confidence in themselves. Women have always been in resistance but unfortunately, they haven’t been able to create works that make this resistance visible. Movements starting with feminism have created some changes, but when looking at the essence and power of women, it is not enough. Feminism has brought reforms and restorations, but we cannot speak of a revolutionary change.
The process initiated by the leadership of Kurdish women has started a process that creates, and begins to create, revolutionary changes. We consider the Rojava revolution as a women’s revolution. The process started by women has defeated barbaric gangs like ISIS, but in terms of attacks and the dynamics of society, there is still a long way to go. This project is a result of a comprehensive assessment of the current situation analysis.
As women in Rojava, we have realised a women’s revolution, but we are lacking in rooting this revolution, its history, and articulating it. And we cannot yet say that the entire dynamic of society has fully implemented social change. As the Hilala Zêrîn women’s cultural movement, this situation is a subject we address and evaluate in our meetings and discussions. Believing that artistic expression accelerates change, we discussed and evaluated making it visible artistically. And initially, we decided to make an entrance with this project.
Of course, our musical work of cinema quality reflects only a part of the reality we live in. In fact, when we delve into the depths of women’s history, there are many dimensions to work on; we wanted to make a general introduction. This work created an experience, and with this experience, we want to step into more comprehensive women’s projects that will surpass this work in the future. With the Sine Jin Rojava team we created, we want to sign women’s films in the future and sign projects that will create changes in society by reflecting social transformation in our works.
Eight months ago, we had intense discussions with friends working in Rojava for this work and dealing with the artistic legs of social transformation. After intense discussions with Sine Jin Rojava, Hunergeha Berçem, Hunergeha Welat, and Pargin, we entered this project. We had a general script and lyrics at hand, and as the work progressed, the script, music, and lyrics began to emerge. We did not go with strict patterns; we discussed, filmed, discussed again, changed the lyrics, and sometimes determined the music according to the script, sometimes adapted the script to the music.
Many male friends who believe in and work for the women’s revolution also contributed to this work. Including Şero Hinde, Mahmut Berazi, Delil, İbrahim, and many male friends who participated in the filming. We want to express our gratitude for their efforts. This work created a common spirit, and every step was taken after discussion, although we sometimes faced issues with [varying] perspectives, we came together through discussion and found a common path.
All our cantons passionately participated in the entire work. Friends who carried out the Hilala Zerin work in Afrin (Efrîn), Shehba (Şehba), Aleppo, Kobani (Kobanê), Zenubya, Hasakah (Heseke) and Qamishli (Qamişlo) cantons worked day and night. It is not possible to give the exact number of friends in the team, but over 700 women participated in this project.
Men also contributed to editing, and sometimes in the dance team and sound recording. Primarily, since we had no experience with a musical work in our field before, it was an experience for us. Women friends who participated in such work for the first time were inexperienced and their bodies were not flexible. They received training for 2 months, followed by movements. We faced difficulties in terms of location. The area of Rojava is still facing attacks by the fascist and inhumane Turkish state. Every day, they bomb places with reconnaissance and warplanes. Therefore, we had to constantly change places and locations to carry out the work of the team healthily.
Even among us, there were jokes that if one of us falls martyr, the work will continue and will be attributed to that person. Sometimes we slept without blankets in cold weather, sometimes we had to work without cooling in temperatures exceeding 45 degrees. However, despite challenging conditions, everyone worked enthusiastically, with high morale, without stopping or complaining. In some shootings, we danced with over 400 women, in some with over 75 women, and sometimes with fewer numbers.
Before one shooting was finished, the team for the next shooting was getting ready and starting rehearsals. Some female friends were involved from start to finish, and some took part in certain sections. The enthusiasm and morale were indescribable. The presence and work of women together gave an additional excitement and enthusiasm. The joy in the eyes of those in the team after the shooting gave strength and morale. The works, led by women, are indeed wonderful.
In Rojava’s works, the character identity of women is more prominent. Was this the case before the revolution, and what is the effect of the revolution on this?
Since the Rojava revolution derives its strength from the leader of the peoples [PKK leader Abdullah Öcalan], it’s social and political impact is reflected in all areas. From the Arab people to Assyrians, Armenians, Syriacs, Turkmens, etc., every people living in these lands can freely live their language and culture. The leadership has realised a social, political and historical change in every sense. Women’s freedom is not a matter to be taken lightly; the ideological perspective and paradigm that provide this are given by the leader of the peoples, Abdullah Öcalan.
The fact that the Rojava revolution is a women’s revolution stems from the struggle and women’s perspective that the leadership has been advocating throughout his life. The leadership has never lived the masculinity experienced in men throughout his life and has always fought with this perspective since the age of seven. When forming the Kurdistan Workers’ Party (PKK), he strived to ensure the participation of women and created the conditions and accumulation for a women’s revolution. With the militarisation of women, he established a mechanism to protect women’s accumulation and strengthened the ideological perspective with party formation. Self-defence and ideological perspective have enabled the formation of a social revolution. In this sense, the main architect of this project is the leader of the peoples, Abdullah Öcalan. With this work, we tried to merge the expressions of the Leadership with the field of art.
Culture and art are at the forefront of areas that will make the ideology vital, visible and widespread. Art adds soul, colours, and makes visible. We tried to make our historical reality visible with musical cinema. We hope we have been somewhat successful. The leadership directly interacted with the people during the period he stayed in the Rojava area, Lebanon and Syria, and has signed many changes, but the Rojava revolution has reached all segments of society, and all segments of society have been influenced by the ideology of the Leadership. The ideology of the Leadership is effective in Rojava in this sense.
What is the connection of this work, led by the Hilala Zêrîn Women’s Culture Movement, to the revolution, and who were the main contributors to this work?
Certainly, the conditions created by the revolution affect the work. Previously in Rojava, Newroz was celebrated secretly, and artists were performing their rehearsals with muted voices, and Newroz was celebrated under the guise of a wedding. The conditions of the revolution provide more opportunities for producing art.
Economically, of course, we struggled a lot, the fascist Turkish state attacks every day with air raids, causing martyrdom among all segments of society. It attacks infrastructure, economically profitable places, and basic necessities, causing economic difficulties. We tried to carry out this work with limited resources.
Some families contributed by cooking food in turns, some brought drinking water, some opened their homes, some their places, some volunteered to sew clothes, some decorated, everyone volunteered in the team and never complained about the impossibilities. The enthusiasm of the revolution brings the society together, and everyone wants to see the reflection of the revolution in the field of art.
If we tried to carry out such a project elsewhere, the expenses would be high, but the support of the society and the mobilisation of our institutions gave us great strength and morale. The revolution has more trust and expectations from women. Whenever we asked for support, Hilala Zêrîn said, “We trust you, something good will come out,” and they supported us and did not send us back empty-handed.
The main contributors of this work were women and youth. It is evident even when watched, mainly our young structure actively participated in this work. Despite sleepless days and non-stop work, the enthusiasm and excitement in their eyes gave us morale. I would like to thank the entire team again.
How do the works emerging in Rojava reflect on other parts? These kinds of works are generally liked, how do you approach them?
Since the Rojava revolution is led by women and influenced by the philosophy and paradigm of the Leader, Reber APO, [Öcalan] every work carried out here affects everyone who is suffocated by the state system and follows the Rojava revolution, and eyes are on the production of the revolution.
The works carried out here are a source of inspiration. We try to reflect the spirit and works of the revolution with our works. The appreciation of our works gives us strength and morale. Art, when properly managed, has a mission that will lead the revolution; at the same time, if art is not managed correctly, it has the power to harm the women’s revolution.
Therefore, we try to approach our works with sensitivity. We hope this work will be liked. Of course, criticisms will develop. Every criticism will be important for us to carry out stronger work. There are details we have not calculated, overlooked, or not thought comprehensively about; these will give us strength. However, evaluations by people who do not embrace our ideological perspective will also occur; what is important is the evaluations of people who are loyal to social values, believe in the dynamics of society, are committed to freedom, and understand art.
Why the name Stranên Kezîya Sor? Where does its name come from, and how was this name determined?
We did not immediately determine the project’s name. We thought a lot, discussed a lot about the shooting processes, music production and lyrics. Many ideas emerged. After all the shootings were completed, we came together dozens of times and discussed what it should be. There were suggestions for epic, and others had very different views.
The reason we say Stranên is firstly due to the meaning of the [Kurdish] word stran. Stran is a concept deriving from the goddess star, it is the reflection of the goddess, it also comes from stargeht, meaning it protects, shelters and gathers together, kneads the dough, i.e., nourishes humanity. In the Neolithic period, wheat and bread are sacred. Along with the production, protection and nourishment by women, stran, as an art form, adds energy to life, colours it and exhilarates.
Kezî represents women with their hair and looking at sculptures from the Neolithic period, women’s hair is braided, braiding means uniting women. Weaving life, processing, and gathering. Sor means always encompasses revolutionary struggle. Keziyên sor is also synonymous with Sakine Cansız (Sara), the pioneer of the Kurdish women’s movement, known for her red hair. Her life was always a struggle, and her red hair was proof of that.
Both historically and today, we determined this name in reference to our precursor Sakine Cansız. We also tried to include Sakine Cansız in the shootings. Jin Jiyan Azadî is a slogan of Kurdish women’s resistance that has emerged and spread all over the world today. Freedom is realised with the struggle of women and social revolution colours.
In the project, we also tried to base some sacred numbers. The number 7 is considered a sacred number. The number of women dancers who shed their covers is 7, the number of women who achieve success is 7, and it consists of 7 parts.
The number 41 is also seen as a sacred number in the Neolithic period, we made the shootings with a 41-member women’s choir when narrating that period. In the last shootings, 75 women dance; this year, the Leadership turns 75. We tried to merge the Leadership’s age with the serkeftin shootings, and our mothers are also clapping and welcoming this success with happiness.
Finally, what can you tell us about your works, and do you have a message for those involved in art?
As Hilala Zêrîn, we are entering our new eighth year in the Rojava area. Until now, we were trying to complete our organisation, art groups and teams. We have almost completed our organisation work. We can say that we have produced some quantity, so now we are trying to add quality and deepen it. To all our workers involved in art, I can say this, art is a creation, and the most difficult conditions also develop artistic productions. We have so much reality to write, say, and play.
According to the Leader Abdullah Öcalan’s expression, we have a treasure both historically and in terms of resistance developing currently. The action and resistance developed by the guerrillas in the mountains on TV give us strength; we try to produce something with the strength we receive from them. If the guerrillas can develop such resistance under such difficult conditions, we can produce artistic products worthy of them under any conditions. Not doing this would mean not taking responsibility for art, and history would never, ever forgive us.
Many of our artists and workers in Rojava are leaving us, either falling martyr or becoming veterans under the strikes of reconnaissance planes. Attacks are everywhere, in some places with the weapons of fascist states, everywhere with special war. The power to overcome this is the power of art. If we unite our strength, we can break all attacks and invalidate all techniques. We have the power because we are right and with the people.
